Morris takes up the concept that there exist two kinds of knowledge: “what we know because it is what we see and do,(attention spans, finger tips, etc.) and what we know because it is what we think”(book knowledge)(1). She theorizes that the first is instinctive and the second is categorized. The world of “new media” is comprised of artist and interpreters, and "aesthetic construction", which is a crucial element in this negotiation. This book is affiliated with the Leonardo Project in coordination with the International Society for the Arts, Science and Technology (ISAST) That group documents the work of scientists, engineers, writers and artists to bridge human divides, and to address hard problems and human needs (Leonardo Book Series, mitpress.mit.edu). The e-book version begins with a lengthy series of epigraphs, including one final statement by Gertrude Stein, which declares the problems each generation faces as it confronts new life-conditions.
The trick, she says, is not to be ahead of one's time, but in one's time (2). Our lives, as Morris describes them, "are conditioned by a technoenvironment of digital computers, cell phones, PDAs, video games, email, networked chatrooms, networked archives, and ubiquitous online banking and commerce [yet] what we think is conditioned by concepts developed in the world of print" (2). Stein's 80’s ideology says that cogniton is distributed between different “centers” within individuals that is referred to as “distrubuted cognition”, thus spanning far beyond to focus on the “circuits or systems that link humans with each other” (3). Morris contend a that “new media poetics” is a term that “ongoing, elastic, and capacious” (6).
This seems to be the concern: that we as poets and readers are behind in our thinking and looking at a "seismic shake-up in the media that negotiate our experience" (34). Morris’ goal is to understand the computer as an expressive medium by adding “new media poetry” to the "study of hypertext narrative”, interactive fiction, computer gaming, intermedia art and other digital art forms (5).
Our mistaken assumption is often that print is the medium of poetic art. The book, which seems to be directed toward practicing poets and literati, seeks to "participate in the effort to provide models adequate to understanding "how to write as we may think" (34). Morris and Swiss then proceed to familiarize readers with six existent processes which are currently employed but are shocking in their alteration of poetry: the stanza, the line, the phrase have been abandoned in many cases for the "tumbling, morphing, graphical, and semiotic letters" (20). This is the way they describe Literal art, the first of the six poetic processes. Other processes include Poem-games, Real-time reiterative programmable poems, Participatory networked and programmable poems, and Codeword.
Commentary
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Morris's position is well-intended and systemically sound, but may be overtaken by events. The rapidity of technological change among the young may permeate poetics before aging, intractable, print-obsessed cohorts become converts to a new order (or disorder). There are those stodgy advocates who are going through withdrawal over the whole situation--at least one of whom is in this room :) Yes, such neurotics are around, and this brave new world stimulates panic rather than wonder. This book places the state of the art in its new context; it functions like the Indian princess interpreting a new continent to bewildered colonials. Morris calls this process "electricacy," a combination of literacy and electronic awareness.
The "well-intention" of Morris’ position to understand this “new media poetic” approach is a conversation that is real in all classrooms today. Many English 111 classes are taught from a different angle. The younger generation of instructors employ and embraces the “new media” perspective without thought, and are appalled if other’s do not. However, there exist an entire generation (me) of instructors who are gifted with having some knowledge of both worlds and contribute from both angles to the development of what I deem as “novice” writers in this new media enviroment. Rejecting the idea of “new media poetics” will stunt the growth of not only self but the young minds we attempt to enlighten.
Discussion Questions
Is there any irony in the fact that this tome is also presented in printed form? What does that say about the new, electrified world. In Tony's case, access to this article failed electronically, with the letters becoming smeared and inky looking. The librarian explained that "This happens sometimes, depending on the source of the text." Is this an anomaly? What is your experience as a poetic aficionado?
What are the boundaries between word, image, and new media poetics, (if any)? Do the boundaries shift (positively or negatively) because of the “media” ideology? How do readers and writers perform and recognize multiple modes of delivery with this new concept? What will be lost? Or gained?
Article Link
New Media Poetics
Summary
Morris takes up the concept that there exist two kinds of knowledge: “what we know because it is what we see and do,(attention spans, finger tips, etc.) and what we know because it is what we think”(book knowledge)(1). She theorizes that the first is instinctive and the second is categorized. The world of “new media” is comprised of artist and interpreters, and "aesthetic construction", which is a crucial element in this negotiation. This book is affiliated with the Leonardo Project in coordination with the International Society for the Arts, Science and Technology (ISAST) That group documents the work of scientists, engineers, writers and artists to bridge human divides, and to address hard problems and human needs (Leonardo Book Series, mitpress.mit.edu). The e-book version begins with a lengthy series of epigraphs, including one final statement by Gertrude Stein, which declares the problems each generation faces as it confronts new life-conditions.
The trick, she says, is not to be ahead of one's time, but in one's time (2). Our lives, as Morris describes them, "are conditioned by a technoenvironment of digital computers, cell phones, PDAs, video games, email, networked chatrooms, networked archives, and ubiquitous online banking and commerce [yet] what we think is conditioned by concepts developed in the world of print" (2). Stein's 80’s ideology says that cogniton is distributed between different “centers” within individuals that is referred to as “distrubuted cognition”, thus spanning far beyond to focus on the “circuits or systems that link humans with each other” (3). Morris contend a that “new media poetics” is a term that “ongoing, elastic, and capacious” (6).
This seems to be the concern: that we as poets and readers are behind in our thinking and looking at a "seismic shake-up in the media that negotiate our experience" (34). Morris’ goal is to understand the computer as an expressive medium by adding “new media poetry” to the "study of hypertext narrative”, interactive fiction, computer gaming, intermedia art and other digital art forms (5).
Our mistaken assumption is often that print is the medium of poetic art. The book, which seems to be directed toward practicing poets and literati, seeks to "participate in the effort to provide models adequate to understanding "how to write as we may think" (34). Morris and Swiss then proceed to familiarize readers with six existent processes which are currently employed but are shocking in their alteration of poetry: the stanza, the line, the phrase have been abandoned in many cases for the "tumbling, morphing, graphical, and semiotic letters" (20). This is the way they describe Literal art, the first of the six poetic processes. Other processes include Poem-games, Real-time reiterative programmable poems, Participatory networked and programmable poems, and Codeword.
Commentary
==
Morris's position is well-intended and systemically sound, but may be overtaken by events. The rapidity of technological change among the young may permeate poetics before aging, intractable, print-obsessed cohorts become converts to a new order (or disorder). There are those stodgy advocates who are going through withdrawal over the whole situation--at least one of whom is in this room :) Yes, such neurotics are around, and this brave new world stimulates panic rather than wonder. This book places the state of the art in its new context; it functions like the Indian princess interpreting a new continent to bewildered colonials. Morris calls this process "electricacy," a combination of literacy and electronic awareness.
The "well-intention" of Morris’ position to understand this “new media poetic” approach is a conversation that is real in all classrooms today. Many English 111 classes are taught from a different angle. The younger generation of instructors employ and embraces the “new media” perspective without thought, and are appalled if other’s do not. However, there exist an entire generation (me) of instructors who are gifted with having some knowledge of both worlds and contribute from both angles to the development of what I deem as “novice” writers in this new media enviroment. Rejecting the idea of “new media poetics” will stunt the growth of not only self but the young minds we attempt to enlighten.
Discussion Questions